Underrated and misunderstood, Public Enemies is not just a great film by Michael Mann, it may be the hidden testament of Johnny Depp.
It is an understatement to say that Michael Mann will have been a director punctually adored, but frequently misunderstood. The cult series Two cops in Miamithe cosmically classy Collateral and the instant classic Heat it still serves as a prestigious business card, but these three strokes of brilliance remain a trio of trees poorly concealing a dense forest of misunderstood projects.
Mann is also the production then the infernal release of The Black Fortressthe erasure, for years, of the Lecter from its Sixth Sense for the benefit of his incarnation of silence of the lambsthe polite indifference of the spectators to the colossal Revelationsthen Ali and finally the consummate divorce with the public and a good part of the critics from miami viceto the oven hackerwhich we feared would definitely take him away from the big screen, until the very fresh announcement of the start of construction of his fantastical Enzo Ferrari. And in the middle of this chaos shines a jewel of a particular black.
It is of course about Public Enemies, epitaph to the glory of a bygone Hollywoodand malicious testament of a star then at the height of his glory, perhaps glimpsing his irremediable fall.
Hurt yourself Johnny-Johnny
DILLINGER ESCAPE PLAN
The highwaymen that history consecrates are rare. Those who become myths during their lifetime are even more so. Figures of transgression, of rebellion, sometimes libertarian icons, sometimes symbols of social struggles… The tutelary figure of Robin Hood hovers on the most illustrious of them. This was the case of Cartridgeto which we recently devoted an analysis, which is not unrelated to the actor who interests us today, but also, and probably even more so, to John Dillinger
The devastating American icon of the early 20th century was, so to speak, the last of his lineage, his career, but also his death auguring the profound changes at work within American society, but also in its institutional structures. The gangster has an impressive track record. Accompanied by recurring accomplices, he robbed no less than 24 banks across the United States, 4 police stations and managed to escape from prison twice, before being shot in Chicago in 1934, leaving a cinema. The gangster and his comrades-in-arms made the headlines, in the tabloid press as well as in news magazines and the most prestigious publications.
And don’t go back to square one
Despite the bloodshed that regularly accompanied his abuses, the man benefited from a positive aura, a man of the people slaying the powerful and robbing the rich of unfairly collected sums. An image reinforced by the time, that of the Great Depression, where the impoverishment of the population could only make him an eminently popular rebel figure, coupled with a reputation as an unrepentant seducer. And if in all likelihood, Johnny Depp does not have the habit of stuffing the representatives of the order with salvoes of lead, it is perfectly logical that Michael Mann offered him this role “bigger than life”.
We want to give thanks to the writer of this short article for this outstanding material
Public Enemies: what if Johnny Depp’s last great film was his testament?